Norbert Burgmuller () was born in Düsseldorf, the youngest son in a musical family. His father was the director of a theatre, and his mother, a singer. Sheet Music – £ – Clarinet, Piano. Burgmueller, N. Burgmuller Duo for clarinet and piano – Download as PDF File .pdf), Text File . txt) or read online. Burgmuller Duo for clarinet and piano.
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Norbert Burgmuller – Duo Op. 15 Eb Major clarinet & Piano
Help Center Find new research papers in: Outside of France, the English clarinettist Thomas L. Quellen I Autograph Verschollen — Provenienz: The Historical Performance of Music: For instance, ten, eleven and even twelve-keyed instruments would possibly still require the use of cross- fingerings. In einem Brief vom The piece was originally composed for clarinet and military band 16 and was written for Carl Klotz, clarinettist and 7 Jenson Remember me on this computer.
Finally ornamentation particularly in slow movements was discussed burgmul,er various treatises and methods of the period; for example, Berr includes instructions for ornamenting a slow burgmupler. As Kistner was working from the manuscript of op.
Heinrich Baermann for instance was praised in the Journal de Paris for the distinct timbre and extreme softness of dynamic that he could produce on bugmuller clarinet which was seemingly new to Paris at this time.
On the other hand, it could also be a musical choice to play the return of the theme slightly louder the udo time if the perfomers felt that the Larghetto was gaining momentum towards the return of the faster Allegro material from the beginning of the piece. Skip to main content.
An alternative solution might nurgmuller to take a quick breath after the first quaver G of bar 79 and a quick breath on the bar-line between bars 80 and 81 and again in bar 85 if needed. This might be particularly relevant to op. Lawson, Colin and Neal Peres da Costa. Grenser provide examples of op.
Burgmüller, Norbert – Duo Eb Majir op. 15 – clarinet & piano
Allgemeine musikalische Zeitung, Carl Klotz was the soloist accompanied by the composer on the piano, suggesting that some version of a complete piano part for op. For instance the clarinet music of Brahms and Schumann often highlighted this tension by simultaneously putting groups of two notes against groups of three; bars of the first movement of Brahms sonata op.
The Kistner edition incorporates the grace note triplets at the beginning of the bar under the slur whereas the Schott edition does not. The performance was part of an evening of musical entertainment at the Conservatorium of Music. Dem Tonumfang des Instruments entsprechend teilweise von der Klarinettenstimme abweichend. Arguably there is little room or need for ornamentation, although both clarinet and piano may wish to embellish the tune slightly in bars for example when the opening theme returns or in bars or of the second Allegro where the opening Allegro theme returns.
Whereas this might not be desirable or as easy to achieve on a modern Boehm or Oehler-system clarinet, clarinettists can for example enliven the sound by altering the amount and speed of the air flow and the grip of the embouchure to achieve a variety of tone-colours.
Another expressive device that might be explored when playing op. The work was performed as part of a large vocal and instrumental Concert hosted by the theatre singer Josephine Michalesi. Thirdly, burgnuller benefits of additional keys were that clarinettists could play in more remote keys and cope with a much greater amount of chromatic writing an increasing feature of music from this period ; the balance with maintaining the greater variety of timbre and tone colour present in simpler five-key clarinets has already been discussed.
Wherever possible it is advisable to obtain a facsimile of the manuscript of a work as this usually provides a clear reference to what the composer wrote in terms of articulation, phrasing and dynamics for example. Evidence suggests that the piano part of op.
Dup and Hermsted and B. However, there were many including Backofen in his revised method of who felt that these additional keys took away the greater variety in tone and timbre that simpler five-keyed clarinets had, due primarily to the necessity of cross-fingerings.
Arguably a historical approach would be beneficial to any clarinettist performing op.
Edition Schott, Mainz This invariably resulted in the addition of more keys and ever more complex mechanisms. Rezension in NZfM, Bd. Austro-German Clarinets in this period typically had from five to twelve keys. Duo for clarinet and piano op.
Lawson, Colin and Stole, Robert. Log In Sign Up. A complete list of his works includes two symphonies No. Without the bjrgmuller, clarinettists would be advised to work from or at least check their version of op. Although again, taste in ornamentation varied from player to player and region to region.